Washington Post's Scores

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For 11,478 reviews, this publication has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 5.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Oppenheimer
Lowest review score: 0 Dolittle
Score distribution:
  1. Positive: 6,014 out of 11478
  2. Mixed: 3,069 out of 11478
  3. Negative: 2,395 out of 11478
11478 movie reviews
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  1. Reminiscence
    “Reminiscence” has all the ingredients for electrifying summer entertainment. But despite its considerable star power and impressive set pieces, the sprawling meditation on memory is simply an attractive mess.
  2. The Night House
    Warts and all, The Night House is, in the truest sense of the word, kind of haunting.
    • 79 Metascore
    • 88 Critic Score
    The Lost Leonardo
    The ultimate strength of The Lost Leonardo is its inspection of how society reveres and seeks out capital, the real driving force behind the pushes and pulls acted upon the Salvator Mundi.
  4. PAW Patrol: The Movie
    There’s no rude humor, no sarcasm, no sharp edges — just a warm cuddle of a movie that does exactly what it sets out to do.
  5. Respect
    Respect is nominally a movie about a woman finding her voice, but more accurately it’s about her taking full possession of it.
  6. CODA
    You’ll laugh, all right. You’ll cry. You’ll do both at the same time. CODA is just that kind of movie. And thank goodness for it.
    • 62 Metascore
    • 50 Reviewed by
      Hau Chu
    Free Guy
    It’s hard not to imagine that there could have a better version of this movie’s premise: one that upped the cultural satire, while still having fun tossing low-key, cheeky references at the audience. In the end though, disappointingly, Free Guy only plays itself.
  8. Nine Days
    Nine Days is, in the end, meant as a wake-up call: a bracing splash of fake seawater in the face that somehow, against all logic, feels like the real thing.
  9. The Suicide Squad
    What drags this “Squad” down to the dreary level of Ayer’s vision is the tone of Gunn’s film, which is more violent and less lighthearted than his “Guardians” movies.
  10. Sabaya
    As absorbing and illuminating as Sabaya is — and as courageous as it is as an act of filmmaking — the viewer can’t escape the fact that it’s men who have taken these women hostage, men who are rescuing them and men to whom they are returning, as long as they obey their conditions and patriarchal codes.
    • 77 Metascore
    • 75 Critic Score
    Ailey
    The film brings a more human understanding of a figure so noteworthy he has earned mononym status for the title. Though we only see him in still images and old performance videos in Ailey, he seems much closer.
  12. Annette
    For audiences who prefer their movies to be as weird and even off-putting as possible, Annette comes fully wrapped as a pretentious, arty, occasionally breathtaking, ultimately misbegotten midsummer gift.
  13. The Green Knight
    The yarn that Lowery spins is rich with incident, but ultimately simple. Its enjoyment lies less in the story, but in the marvelous mystification of its telling.
  14. Stillwater
    As in life, what drives most of the drama in this overstuffed but often thought-provoking movie is a failure to communicate.
  15. Jungle Cruise
    This is an untaxing, big-budget summer popcorn movie for the whole family. Like the ride itself, it requires no more mental engagement than you would devote to any theme park visit (excluding the thrill rides, which actually raise a pulse.)
  16. Mandibles
    Like his other films, this one takes an admittedly slender thread of an idea — one that would make a perfectly good premise for a four-minute comic sketch — and stretches it to almost the breaking point, and sometimes beyond, twisting and intertwining it with other nonsense along the way, just for the heck of it.
  17. Joe Bell
    Although Miller is excellent as the doomed teen, Wahlberg seems out of his league here, except in the actor’s rendering of Joe’s acute discomfort with public speaking and confrontation — which is odd in a movie that wears its heart, and its lessons, on its sleeve.
  18. Space Jam: A New Legacy
    If this is corporate synergy fired up to a terrifying new level, there’s still enough heart at the movie’s center to keep it from becoming all business.
  19. Pig
    Like the character at the heart of Pig — who is not, as it turns out, a pig at all, even metaphorically — it is smoldering and gentle.
  20. Summertime
    Billed as a spoken-word musical, but only occasionally utilizing the visual idioms of song and/or dance — and only rarely harnessing the two together — the film is nevertheless an exuberant hodgepodge of everyday joy and frustration (and the occasional mild trauma).
    • 78 Metascore
    • 88 Critic Score
    Roadrunner: A Film About Anthony Bourdain
    Morgan Neville’s nervy, impressionistic film, which over the course of two hours quietly peels back the layers of an onion that sweetened almost everything it touched and left many of us with tears in our eyes.
  22. The One and Only Dick Gregory
    The film’s title is apt: Gregory was one of a kind. But despite the film’s argument that its subject’s activism was part and parcel of his comedy, and not an afterthought, it’s the jokes that are given short shrift here. One wishes there might have been room for a few more of them.
  23. Zola
    Despite its unconventional source material, it turns out to be surprisingly well-crafted, elevated by breathtaking central performances and the stylish, slyly knowing sensibility of director Janicza Bravo.
    • 39 Metascore
    • 63 Critic Score
    The Boss Baby: Family Business
    The movie’s most piercing barbs are left for the tech world and the inevitability that our phones will make zombies of us all. Does that make the Boss Baby franchise a bold cinematic bet? Not exactly. But as a safe play for parents and kids alike, it’s tough to complain about the return on your investment.
  25. The Forever Purge
    There’s a nugget of . . . maybe not wisdom, but something gristly worth chewing on here, if you have the stomach to stick your hand into gaping intestines, pull it out and wipe off the blood. I wouldn’t call it food for thought, but it gives “Forever” a slightly higher nutritional value than some of its predecessors.
  26. I Carry You with Me
    Ewing joins a generation of filmmakers who are using every piece of cinematic grammar available to communicate the emotional core of their stories and characters, fusing the impressionistic liberties of drama with more visceral truths to startling and potent effect.
  27. Summer of Soul (...Or, When the Revolution Could Not Be Televised)
    The result is something akin to cinematic hypertext, and thanks to Thompson’s steady hand, the brief but deep dives are richly rewarding.
  28. No Sudden Move
    No Sudden Move could also refer to the snail’s pace of social change. But race is just a subtext — albeit an enriching one — in a piece of entertainment that feels like watching, say, Ocean’s 11, but with a social conscience.
  29. Black Widow
    As gratifying as it is that Johansson has finally gotten the movie her character has long deserved — not to mention a worthy and equally watchable foil in Pugh — “Black Widow” simultaneously feels like too much and too little. Do svidaniya, Natasha — we hardly knew ye.
  30. Rebel Hearts
    Director Pedro Kos makes lively use of archival footage and animation in Rebel Hearts, but the stars are the women themselves.
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